From groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. Independent post production companies working for multinational advertising agencies use SSL equipment to produce global advertising campaigns for the world’s leading commercial brands. There are more than 3000 SSL systems in service around the world. Internationally famous classical musicians and popular artists such as Bryan Adams, Peter Gabriel, Whitney Houston, Blur and Sting, choose SSL equipment to extend their creativity and ensure the highest possible quality of their finished product. No wonder that SSL recording consoles are the first choice of leading producers, and are found in the most prestigious recording studios around the world.

Solid State Logic Xlogic Super Analog Channel
The XLogic Channel features identical DC-coupled SuperAnalogue processing to the legendary XL 9000 K Series console from which it is derived. This provides a bandwidth greater than 192 kHz recorders and a dynamic range well beyond that of 24 bit A/D converters. This makes it the perfect accompaniment to any high quality recording equipment.

Solid State Logic Xlogic G Series Compressor
Do you know the secret of how to give your mixes that finished record sound that you’ve heard on professional recordings for over twenty years? We do — and now so will you. It’s the center console stereo bus compressor from the Solid State Logic SL 4000 G Series console, the world’s most successful studio production console. Can’t afford the $500K price tag? Not to worry, SSL has taken the G Series center compressor, racked it, and added their latest SuperAnalogue design topology, to bring you the XLogic G Series Compressor. The ability to ‘patch’ into the SL 4000’s center compressor, and also control its sidechain from an internal sub-mix, allowed engineers to discover the amazingly unique qualities of this compressor for use on instruments like piano and drums, as well as its classic mix-finalizing capabilities. As a result, the center compressor was considered to be an essential tool by recording professionals, which created demand for a rackmountable unit, and thankfully, SSL responded. The XLogic G Series Compressor is a 1-space rack mounting stereo compressor that utilizes the classic SSL G Series center compressor design elements within a SuperAnalogue design topology. It is the latest version of the same compressor found in the Solid-State Logic SL 4000, and it uses the same classic twin VCA design as its console counterpart. Combined with improved input and output circuitry, this new unit provides spectacular audio performance with universally acclaimed audio compression characteristics that have provided numerous hit mixes for the world’s best audio engineers. A key element in the sound of many of these recordings is punch and drive created by the classic G-series center compressor — but we don’t have to try to tell you what the G Series Compressor sounds like cause you’ve already heard it. All you need to know is that if you strap one across the stereo bus of your DAW or console, you’ll have it too.

Solid State Logic Alpha VHD 4-Channel Microphone Preamp
The XLogic Alpha VHD is a four-channel analog microphone preamp with attitude. Whether you need to track pristine vocals, crunched drums or electric guitars on the edge of sonic destruction, the Solid State Logic VHD Pre delivers a powerful and versatile sound shaping tool kit - the perfect analog companion to your digital recording system.Based on the VHD (Variable Harmonic Drive) circuit from SSL’s acclaimed Duality console, the VHD Pre adds four SSL mic preamps to any line level DAW audio interface, transforming it into a professional quality, multi-channel analog recording system.The four ultra-clean, high-grade mic preamps are combined with independent Variable Harmonic Drive circuits that use 100% analog signal paths to generate rich harmonic distortion - adding SSL analog attitude to your digital recordings.Variable Harmonic Drive It may look like just another knob, but the VHD (Variable Harmonic Drive) preamp is far from a traditional linear gain control - it’s more like a time machine of overdrive characteristics.When VHD is used in conjunction with the input gain control, a huge variety of preamp sounds can be created, from gentle warming to serious distortion. At relatively low input gain settings the VHD Pre preamps deliver transparent signals with all of the sonic fidelity you’d expect from SSL. As the input gain setting is increased, more of the signal is passed to the Variable Harmonic Drive circuit, increasing the intensity of the effect from subtle to extreme. By adjusting the VHD control the distortion characteristics can be shifted from 50s valve-style overdrive (if the VHD selection control is turned fully anti-clockwise for 2nd harmonic distortion) to 70s transistor-style grit (if the VHD selection control is turned fully clockwise for 3rd harmonic distortion) or a blend of the two.

Solid State Logic Duende Console Plug-In Hardware Platform
Based on the digital technology behind SSL’s C-Series consoles, the rackmountable Duende delivers the complete SSL mix experience powerful channel and dynamics processing and the legendary Stereo Bus Compressor. It’s the easiest way to get professional mixes that sound like a record.Duende offers complete integration into the most popular workstation environments with one simple FireWire cable connection. The processing blocks appear as VST/AU plug-ins (RTAS support via FXPansion wrapper)—including an authentic SSL channel strip with filters, E and G series EQ and dynamics processing, as well as the legendary SSL Stereo Bus Compressor. Mix your music on an SSL with Duende.EQ & Dynamics Channel Plug-In The EQ and Dynamics channel strip plug-in is ported from the C200 console and includes separate high and low pass filters, a four band parametric equalizer, an independent compressor/limiter and gate/expander as well as an output gain adjustment knob.Filter Section The Filter Section of the EQ and Dynamics Channel Strip plug-in includes a 12dB/Octave low pass filter and an 18dB/Octave high pass filter. The filters can be placed after the equalizer, before the equalizer or in the sidechain of the Dynamics section. Equalizer Section The Equalizer section is a classic, flexible four-band parametric EQ. This plug-in includes two distinct EQ flavours, one based on the SSL G series EQ and another based on the latest version of SSL’s legendary E series EQ.

Solid State Logic Alpha Channel
The XLogic Alpha Channel is destined to bring the elusive Solid State Logic (SSL) sound to a whole new generation of producers and engineers. With the classic combination of a studio class mic preamp, filter, EQ, and limiting, the XLogic Alpha Channel is a classic analog channel strip designed to provide the perfect front end to your Digital Audio Workstation. With all the features needed to record great vocal or instrument tracks every time, the Alpha Channel offers a recording solution based on SSL’s years of experience in designing the world’s leading analog recording consoles. Alpha Channel retains the superior sonic fidelity, quality and attention to detail that have established Solid State Logic as the world’s leading audio console manufacturer.With the classic combination of a mic preamp, filter, EQ and dynamics, the XLogic Alpha Channel brings SSL’s sonic legacy up to date in an analog channel strip designed to provide the perfect front end to your digital audio workstation.A huge proportion of the music you know and love was recorded on SSL, renowned for the superior audio qualities you’ve heard on countless hit records. That elusive sonic ingredient is here in the Alpha Channel.

Trident Audio is a name that is associated with the Great British success of console design and sound throughout the world. Trident’s success in America, with such classics as the Series 80 and the TSM consoles, was earned before the likes of SSL had hit their shores. England, today, still leads the world in music recording consoles and Trident were one of the very first. From the design house of John Oram, these versatile channel strips and mixers deliver that seriously warm analogue tone that recent day products seem never to get close to.

Trident S100 8-Channel Mixer
The S100 boasts a warm and musical sound with straightforward layout and spotless construction as well as classic Trident EQ from John Oram and a smooth, pure-analog signal path. It’s perfect for any digitally processed audio path. It packs 8 mic/line inputs, 3 stereo buses, 8 phantom powered mic preamps, and direct outs on each channel into a 9-space, all-steel rackmount unit. Each channel features an XLR mic/line input, TRS line input, an unbalanced RCA line input, a 1/4″ send/receive insert, and a 1/4″ direct output. Separate knobs control the level for each input, and there are switches for mic/line select, 48V phantom power, and phase reverse, plus a peak LED. The mic pre provides +50dB of gain.The EQ section provides a sweepable low-cut filter, a fixed high-frequency shelf, a sweepable mid EQ, a fixed low-frequency shelf, and a switched high-cut filter. Each channel also features 3 post-fader and 2 prefader auxiliary sends, a stereo pan knob, 3 stereo bus assign switches, a solo switch (with LED indicator), and a large rotary fader.The master section features a 9-LED level meter and main stereo bus level while the 2 aux stereo busses each have level, solo, and assign controls. The 3 stereo returns each have level controls. The master section I/O, except a headphone jack, are male 1/4″ connections on a break-out cable.A D-sub connection allows up to 20 S100s to be linked together.

Trident S80 Producer Box Stereo Channel Strip
The S80 Channel Strip is a standalone classic-sounding reproduction of 2 Trident Series 80 input channels, with the addition of a 48V phantom power switch, and balanced inserts. The renowned “British EQ” sound derives from the very musical 4-band EQ section with 2 swept mids plus switchable hi and low shelves. Low cut, EQ bypass, mic and line inputs with individual volume controls. Each channel has direct balanced XLR outputs. Left and right XLR bus output via pan and mute controls, with 100mm faders. External power supply for extra low noise. The S80 2 channel mic preamp makes the centerpiece of a powerful mobile studio when combined with a couple of good microphones and a quality recording unit. Cabinet finished in English ash.

Trident S40 Classic British Channel Strip
The Trident S40 Classic British Channel Strip is a single-channel microphone and instrument preamplifier, compressor/limiter and equalizer in a 2-space rackmount case. It’s got the characteristic red and green aluminum knobs that users of original Trident consoles will recognize. All circuits are Class A and the the most modern components were used where noise is a concern, and original TL070s were employed where the classic Trident sound needed to be retained. The input section includes a transformerless mic preamp and a Hi-Z instrument input. Front panel controls are a 48V phantom power switch, phase reverse switch, stepped input knob, and microphone preamp. The mic pre is the same one used in the Oram pro range gear and the new Trident Series 80 5.1 console. The dynamics section includes attack, release, ratio and threshold knobs plus a pre/post-EQ switch (default is post-EQ) and bypass switch. The compressor does not affect the signal path as long as the signal is below threshold.The EQ section combines a classic 4-band shelving/peaking EQ section with low and high-cut filters. The 4-band section features ±15 dB high and low shelves with switchable knee frequencies of 7 kHz/12 kHz and 50 Hz/150 Hz respectively. In the middle are 2 ±15 dB sweepable bands with ranges from 150 Hz to 2 kHz and 1.5 to 15 kHz. Mid-band Q is one half octave and the shelves are 4 dB per octave. All boost/cut knobs are center-detented and the EQ section can be bypassed.The output section features a center-detented output gain with a range of ±15 dB. A classy vintage VU meter can monitor either gain reduction of output level.

Trident 4T Celebration Channel Strip
This single rackspace unit loaded with Trident and Oram design excellence features a superb mic pre, pristine dynamics handling, and facilities for stereo reproduction. Equipped with EQ Magic, a musical shelving equalizer that boosts or cuts 100Hz and 10kHz simultaneously with a single control. The 3-band EQ and compressor/limiter circuits offer precision tweakability. Great for live gigs, it has an input for your guitar or synth, an XLR mic input for your vocals, and the ability to mix these 2 signals along with a stereo backing track coming into the rear-panel line level inputs. For home recording, use the stereo input for monitoring your DAW’s soundcard output.

Trident S20 Dual Mic Preamp
The Trident S20 Dual Mic Preamp has an input selector that switches between mic and line or 2 mics, a great feature for instantly comparing which mic is really the best for a particular job. Switch reverses the phase of the input signal. 48V phantom power for condenser mics. Gain swing ranges from a true unity to +60dB without any pad. Variable-sweep, low-cut filter controls lows from 5Hz-200Hz that can muddy a mike. It removes stage and floor rumble, takes out subsonic interference, and improves the HF performance of the signal by the elimination of LF intermodulation distortions.

The BBE Process “What it Is”Loudspeakers have difficulty working with the electronic signals supplied by an amplifier. These difficulties cause such major phase and amplitude distortion that the sound reproduced by the speaker differs significantly from the sound produced by the original source.In the past, these problems proved unsolvable and were thus relegated to a position of secondary importance in audio system design. However, phase and amplitude integrity is essential to accurate sound reproduction. Research shows that the information which the listener translates into the recognizable characteristics of a live performance are intimately tied into complex time and amplitude relationships between the fundamental and harmonic components of a given musical note or sound. These relationships define a sound’s sound”.When these complex relationships pass through a speaker, the proper order is lost. The higher frequencies are delayed. A lower frequency may reach the listener’s ear first or perhaps simultaneously with that of a higher frequency. In some cases, the fundamental components may be so time-shifted that they reach the listener’s ear ahead of some or all of the harmonic components.This change in the phase and amplitude relationship on the harmonic and fundamental frequencies is technically called envelope distortion.” The listener perceives this loss of sound integrity in the reproduced sound as muddy” and smeared.” In the extreme, it can become difficult to tell the difference between musical instruments, for example, an oboe and a clarinet.BBE Sound, Inc. conducted extensive studies of numerous speaker systems over a ten year period. With this knowledge, it became possible to identify the characteristics of an ideal speaker and to distill the corrections necessary to return the fundamental and harmonic frequency structures to their correct order. While there are differences among various speaker designs in the magnitude of their correction, the overall pattern of correction needed is remarkably consistent.The BBE Process is so unique that 42 patents have been awarded by the U.S. Patent Office.

BBE 882i Sonic Maximizer The BBE 882i Sonic Maximizer is perfect for pro studios, sound reinforcement, clubs, and other venues requiring balanced outputs. Designed for uses requiring low noise, high headroom, and +4dBu input levels. It provides either stereo processing or processing for two separate mono channels, brightening, clarifying, and adding fullness to the sound. Features 5-segment LED output meters, +23dBu headroom, XLR and 1/4″ stereo inputs and outputs, hardwired bypass, and a bypass switch for comparison of processed to unprocessed signals. Single rackspace.

BBE MaxCom Dual-Channel Compressor Much more than a high-quality compressor/limiter, the BBE MaxCom Dual-Channel Compressor is the first signal processor of its kind to feature an onboard BBE Sonic Maximizer for enhanced clarity and definition. Both its compression and gating provide versatility and excellent sonic performance without producing undesirable processing artifacts. Includes 2 independent, full-featured compressor/limiters, with each channel having independent controls for Threshold, Compression Ratio, Attack Time, and Release Time.

BBE Acoustimax Sonic Maximizer/Preamp Pedal 3-band recording-console-quality EQ with sweepable mid and low frequency notch filter. Phase reversal, ground lift, line level out, dedicated tuner out, TRS effects loop, and even a pre/post switchable DI output with pad make this a true studio-quality device that shines onstage. Hardwire bypass, non-slip rubber bottom, included 12V power supply.

BBE Green Screamer Overdrive Effect Pedal The Green Screamer overdrive pedal produces a dynamic range of smooth, warm overdrive tones like those of vintage tube amps thanks to a vintage overdrive circuit and dual op-amp design. The Green Screamer is built to last, and features hardwire bypass, LED operation indicator, non-slip rubber bottom, and an easy-access 9V battery compartment. Includes AC power supply!

BBE Soul Vibe Pedal The Soul Vibe is an analog Uni-Vibe™ style effect. The Uni-Vibe™ was known for its phase-like rotary speaker emulation made popular in the late ’60s and early ’70s by such players as Jimi Hendrix, David Gilmour, and Robin Trower.

BBE DI-1000 Direct Box with 25 Mogami Cable The BBE DI-1000 Direct Box is a DI to write home about: full-function BBE Sonic Maximizer for crystalline clarity and definition, Jensen JT-DB-EPC transformer for warmth and presence. Includes a 25′ Mogami cable with Neutrik XLRs.

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Damage Control was founded in 2004 in Newbury Park, CA by individuals with extensive design, development and manufacturing experience in the audio and electronics industries. With backgrounds that encompass analog and digital electronics, DSP systems architecture and algorithm design, high-voltage power systems, tube amplification, and state-of-the-art industrial design, the Damage Control team is well-equipped to execute its vision of developing premium products that inspire with unequaled performance.

Damage Control Demonizer Tube Distortion Preamp Pedal Built around a dual 12AX7 preamp design, the Damage Control Demonizer Distortion Preamp Pedal reacts like a full-blown stack to deliver thick, chunky, high-gain tube tones. With knobs that shape amplitude and frequency, the special Bionic EQ allows massive tone shaping in both the pre- and post-tube stages. The Demonizer also features a revolutionary magic-eye biofeedback meter that organically reacts to your performance levels. Direct recording into your console for state-of-the -art, all tube amp sound and feel. Use it in front of an amp, and add an additional hot-rodded amp channel!

Damage Control Womanizer Tube Distortion Preamp Pedal The Damage Control Womanizer Tube Distortion Preamp Pedal delivers tones coveted by generations of rock guitarists. The pure Class A preamp with dual 12AX7 tubes in a cascading gain-stage circuit is bursting at the seams with unbridled sonic juice. The overdrive section cries out with all the beautiful and emotive tonal character that any guitarist could desire, while its multiple sonic moods can speak softly from a delicate and subtle whisper to a fat and frenzied scream of emotion. The Womanizer is also equipped with analog Opto-compression, pre/post EQ, and biofeedback meter.

Damage Control Liquid Blues Dual Tube Overdrive Pedal The Clarity control knob on the Damage Control Liquid Blues Dual Tube Overdrive Pedal enhances articulation even when higher gain setting are used. From clean compressed boost to sustained bluesy overdrive, the Liquid blues delivers musical, transparent tone. Level, Drive, Opto Comp, Clarity, and Treble controls plus engage and boost buttons give you a full slate of tone-shaping options. Dual 12AX7 tubes biased at 250V internally, with switchable Nuclear gain boost, aluminum die-cast chassis, remote switching, true bypass, and comprehensive LED indicators. Use it in front of an amp to add an additional hot-rodded amp channel!

Damage Control Solid Metal Dual Tube Distortion Pedal The Solid Metal Dual Vacuum Tube Distortion Pedal from Damage Control produces massive gobs of face-melting gain. The flexible control layout lets you dial in metal tones from the 1980s to beyond tomorrow. The unique shape of the Bass control adjusts the speaker’s resonant response for the proper level of chest-thump during tight palm-muted passages, while the Scoop feature allows you to dump mids and automatically adjust speaker resonance. The Treble knob sculpts and tops off your tone to perfection. Use it in front of an amp to add an additional hot-rodded amp channel!

Damage Control Glass Nexus Dual Tube Mod-Effects With an innovative approach to signal processing, the Glass Nexus brings yet unheard levels of depth and richness to classic effects. Natural Number Processing (NNP), dual 12AX7s, and an analog dry path ensure the highest degree of fidelity and musicality. The Glass Nexus combines custom modulation effects with dynamics processing and reverb. Store eight of your favorite sounds in the preset banks or use the MIDI functionality to further expand the possibilities.

Damage Control Timeline Dual Tube Stereo Parametric Delay The TimeLine is a comprehensive stereo parametric delay with continuous controls that produce beautiful phasing, chorus, flange, vibrato, slapback, long delay, reverse delays, and more. The possibilities are endless with the musically-voiced Filter, Dirt, and Smear controls. 2 12AX7 tubes and an analog dry path ensure that every sound is superbly musical. Store and recall eight of your favorite settings with ease, or use the MIDI functionality to take control.

Apogee Electronics Corporation is a leading manufacturer of digital audio hardware systems and related accessories for audio professionals around the world. Apogee was founded in 1985 and initially made its name designing filters that solved many of the early problems associated with digital audio. Later, Apogee’s complete conversion systems pushed the envelope of digital audio quality and established Apogee as a key innovator in the field of professional digital audio. Today, Apogee converters and related technologies are regarded as the reference standard in the audio industry.

Apogee Trak2 Mic Preamp and 24/96 Conversion System
Reference-standard mic preamp/conversion system incorporating balanced sends, balanced returns, auxiliary universal 1/4″/XLR front-panel inputs. 24-bit/96kHz analog-to-digital conversion, eight-channel architecture, 2 AMBus digital I/O slots, AES-S/PDIF digital output, word clock I/O, comprehensive peak/average/phase metering, graphics/text LCD display, easily navigated front-panel controls, and a communications port enabling remote operation via MIDI and/or RS-232.

Apogee Mini-DAC 2-channel 192k D/A Converter with FireWire Interface
Apogee’s Mini-DAC, a professional quality, 24 bit, 192kHz digital-to-analog (D/A) converter, is the ultimate portable and compact solution for studio playback, reference monitoring, and FireWire connectivity to your digital audio workstation (DAW), computer, and premium home audio systems. The 2-channel Mini-DAC features Apogee’s award-winning audio-quality and renowned dual-stage IntelliClock in a rugged metal enclosure.Professional, Portable, Affordable With the venerable DA-1000 in mind, Apogee set out to make a series of next-generation, compact, high-quality converters that both audio professionals and home recording enthusiasts will not want to do without.

Apogee Symphony Mobile
Rock solid or record softly with Apogee’s Symphony Mobile-it gives you the quality of performance you desire and expect from a desktop traditional workstation. The Symphony Mobile delivers up to 32 channels of 24-bit/192kHz digital I/O with as little as 1.6 milliseconds of latency from analog source to analog source. It’s compatible with any CoreAudio software application using VBus for proper routing, and comes with Apogee’s Maestro software for even more control and routing. So when you’re ready to convert ideas into more concrete sounds, insert the Symphony Mobile ExpressCard interface into your MacBook Pro, connect the PCI-32 cable into either Apogee’s X-series or Rosetta Series converters and you’re ready to do your thing.